A homage to loading screens.
In which we discuss the language barrier
Back when I was 11, I started secondary school, and we started to learn French.* Like most English children who learn French, one of the first words we came across was salut. As a greeting, for use with friends, something like “Hi”.
In which we try to justify a one-line description
I recently said that Maximilien Robespierre was, well, one of the villains of the French Revolution. And – well, he is and he isn’t. He’s also someone who, in many ways, I admire: that’s not really a way you can describe a villain. But, having thought of the handy “for some people he’s a hero, for others he’s a villain” line, I couldn’t bring myself to call him a hero.
In which we read ahead in the schedules
Regular readers might recall that, a few months back, I produced a few posts referencing the French Revolution, partly because it seemed relevant to events, and partly because it was on the top of my head at the time. To be honest, I thought I’d mentioned it more than, looking back, I actually have.
In which we run through a few voting-related topics
I’ve been quiet about politics here lately, save for that post about revolutions the other day. The more noise there is about politics in the press, the less I want to add to the “debate”. All I feel like doing is pointing out the endless opportunism and hypocrisy of all, and that’s so plain it doesn’t need to be said.
In which we consider Robespierre’s eyesight
Since briefly writing about Maximilien Robespierre the other week – particularly, writing about the biography Fatal Purity by Ruth Scurr – I’ve had a couple of search hits from people looking for Robespierre information. And one, in particular, tickled me.
In which we discuss books and the French Revolution
One thing about yesterday’s post: it gives you a good look at the state of one of our bookshelves. Not a good enough look to make out what most of the books are, though, unless they’re books with distinctive spines that you’re already familiar with – like Peter Ackroyds’s London, for example.
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